On The Representation Of Ancient Meaning In Children’s Novels Since 1980s

Since the 1980s,the creation of children’s novels has shown a vigorous atmosphere.The emphasis on cultural traditions has made children’s novels have a tendency to consciously move closer to Chinese classical aesthetics.Based on the creative performance of children’s novels,this article uses the same aesthetic tendency selects three writers for clues: Banma,Cao Wenxuan and Wu Xinxing as the research objects,mainly discusses the three writers ’inheritance of the Chinese classical aesthetics and their respective characteristics since the 1980 s,and analyzes the writers’ The effect and significance of literary creation.The introductory part states the topic and research background of this article,and explores new research ideas through reading research on existing academic achievements.The first chapter is based on the realistic background of the reappearance of the children’s novels since the 1980 s.It analyzes from the perspective of the catalysis of the general environment of literature and the conscious change within children’s literature.First,from the perspective of the catalysis of contemporary literary environment,it discusses the influence of "cultural enthusiasm" and root-seeking literature and the conscious reference and inheritance of writers’ writing skills;The direction of development and the emergence of new aesthetic meanings have laid the rationality for the reappearance of the ancient meaning in children’s novels and the foundation of literary history.The second chapter discusses how the three writers can apply their literary creation ideas of ancient meaning to their own literary practice by reading the text carefully.In the practice of creation,it first manifests itself in a misalignment with the views generally advocated in children’s literature,specifically in the creation of new aesthetic styles in children’s novels through the creation of moods and the dilution of plots;secondly,the language style is moved closer to classical,creating a classical feeling of language;Then,through the cultural symbols to reproduce the classical material civilization,inherit the compassion in the classical spiritual civilization in expressing the feelings;finally,the writers expressed their modern thoughts embedded in the classical charm,and built a bridge between ancient and modern communication.The third chapter discusses the significance of the reappearance of the ancient meaning in children’s novels from three levels: micro,meso and macro.Microscopically,it is reflected in the exploration of the internal aesthetic changes in children’s novels."Forms move forward" and "children’s anti-childhood" are the theoretical support for this creative choice.At the medium level,it discusses the educational significance of the reproduction of the ancient meaning of children’s novels.—Children ’s writers are the shapers of the future national character,and the significance of aesthetic education — to cultivate children ’s artistic heart and realize the art of life;macroscopically,the cultural connotation is discussed,which is a specific expression of the locality of literary creation,namely writing The Chinese story conveys the spiritual connotation of Sinicization to children.The concluding part considers the problems existing in the creative practice of children’s novels,and strives to make the literary practice of children’s novels more comprehensive and reasonable.Once again confirming that this kind of aesthetic choice and writing trend develops children’s reading depth.It is also the responsibility and mission of contemporary children’s literature writers to retain the tranquil and poetic spiritual world for children with tender pens in a noisy world.